THE LEWIS CARROLL SOCIETY
It Letter
OF NORTH AMERICA
NUMBER 40 WINTER 1992
He had just one idea — but, that
LCSNA Publishes Illustrated Snark
On May 2, the LCSNA will publish a newly illustrated
edition of Lewis Carroll's classic nonsense poem The Hunting
of the Snark. The book will contain over 60 illustrations by artist
Jonathan Dixon, who spent over a year on the project. Dixon
was born in Washington, D. C, in 1 966, and currently resides in
Redwood Falls, Minnesota. He is a long-time fan of Lewis
Carroll and 1 9th century book illustration and a member of the
LCSNA. This will be his first published book.
Dixon's pen and ink illustrations for the Snark are rife with
wit and allusions to everything from William Shakespeare to
Monty Python— in fact, clever critics will notice that Hamlet
and the "Dead Parrot" sketch converge in a single illustration.
Dixon has said of some of his illustrations that they are the visual
equivalent of Carroll's parodies of popular poetry — Munch's
"The Scream" and Goya's "The Sleep of Reason Produces
one eing mii Monsters"are thebasisfortwoof hispictures, andanotherbears
a striking resemblance to the work of Maxfield Parrish.
Dixon's biggest influences, however, are the illustrators of the late 19th century,
especially those who worked with Carroll — Tenniel, Frost, Furniss, and Holiday. He
pays tribute to these great artists by placing them, along with Carroll himself, in the
jury box in the Barrister's dream.
Readers who take a careful look at Dixon's illustrations will find many of the
clever details he incorporates, yet I doubt if anyone will find them all. Still, take a look
at the Bellman's fireplace, the figurehead and the name of the ship, and the profile of
Snark Island. This last appears on the final of three title pages ("What I tell you three
times is true"). This title page includes
calligraphy created by Glen Epstein, who
might be called an interplanetary artist,
as he designed the logo for the Gallileo
space probe.
Dixon's illustrations exhibit not only
a careful study of the text, but also a
knowledge of many aspects of Carroll's
life and times, yet his work will surely be
enjoyed by those who are discovering
Carroll and his masterpiece of nonsense
for the first time.
We hope that Mr. Dixon will be able
to speak to the Society at a future meeting
to point out more of the unique features
of his work. Until then. Society mem-
bers will certainly enjoy this new look at
an old favorite. Ordering information is
included in this issue of KL.
Future Meetings
The Spring 1992 meeting of the
LCSNA will see our return to the Bobst
library of New York University, which
houses the impressive Alfred C. Berol
Lewis Carroll collection. Frank Walker,
curator of the collection, will prepare a
videotape for the meeting which com-
pares several television versions of Alice
produced over the past four decades. In
addition to this presentation we will have
two featured speakers.
Poet and children's author William
Jay Smith will deliver a talk titled "What
is the Sen.se of Nonsense," and William
Orr, who is currently working on trans-
lating Carroll's works into Esperanto,
will discuss the difficulties and pecu-
liarities of translating Carroll. The meet-
ing will be preceded by lunch, and efforts
are underway to arrange a social gather-
ing for members after the formal meet-
ing. Full details will follow shortly.
Plan ahead for this fall when our
meeting will take place on October 17 in
San Francisco, California.
Editorial —
Memory* s Mystic Band
You Asked For It . . .
December 28, 1991, 10 p.m.: A four-
year-old child a thousand miles away gets on
the phone to say hello to me and then, without
prompting, sings me "Away in a Manger."
Suddenly all the neon and glitter and news
stories about the economy disappear, and
Christmas is made pure again. As I wipe a
tear away No, this is not a commercial for
A T & T, just my latest lesson in the beautiful
innocence of childhood. Of course, if I had
paid any attention to Lewis Carroll, I would
have learned that lesson long ago, but nothing
teaches like experience.
"Any one that has ever loved one true
child," wrote Carroll, "will have known the
awe that falls on one in the presence of a spirit
fresh from God's hands, on whom no shadow
of sin, and but the outermost fringe of the
shadow of sorrow, has yet fallen. ... I think
a child's first attitude to the world is a simple
love for all living things." Carroll's Roman-
tic notion of the child, inherited, as Morton
Cohen has noted, from Blake, Wordsworth,
and Coleridge, was one that he believed in
deeply and which he applied throughout his
life, in thought, word, and deed.
Can such a child exist today, in a world of
Teenage Mutant Ninja Turtles and sugar
frosted breakfast cereal? Undoubtedly. 20th
century man may have shortened the period
of childhood innocence, but he has yet to
eliminate it all together. Children can still
delight in the simplest pleasures — pleasures
we sometimes spend our whole adult lives
trying to recapture. Some even delight in the
works of Lewis Carroll!
I do not believe those who say Carroll has
no relevance for today's child, but one must
not simply toss Alice at an eight-year-old and
say "Read this." When I have seen real joy on
the faces of children in the presence o{ Alice
is when I have read it to them aloud — sud-
denly the old-fashioned words and slow-mov-
ing action are transformed into a cacophony
of strange voices, outlandish characters, and
funny jokes. Children's faces do light up.
I've seen it happen.
Why should we share. Alice with children
in this way? Not to ensure the future of the
LCSNA or to show off our knowledge of the
text; not for our own enjoyment or to train the
next generation to have the same passions we
have; Carroll told us why — "No deed of ours,
I suppose, on this side of the grave, is really
unselfish: yet if one can put forth all one's
powers in a task where nothing of reward is
hoped for but a little child's whispered thanks,
and the airy touch of a little child's pure lips,
one seems to come somewhere near to this."
As part of the continuing saga of the
LCSNA survey, we take this space to
answer a few specific questions from
members' responses.
• "One wish of mine is for member-
ship folders I could have on hand to
give to potential members." The
LCSNA does have a publicity folder
with a membership form attached. Of
course, these forms do us no good sitting
in a box, so we would be happy to send
copies to members who request them
(simply write to the secretary at the ad-
dress on page 6). Most of our new
members are recruited by old members,
so we would love to have your help.
• "I vcould prefer a single two-day
meeting each year, so I have more time
to get to know other members." We
have experimented with several formats
for meetings and found that two meet-
ings each year (usually one in or near
New York and one elsewhere) allow the
maximum number of members to par-
ticipate. We have made an effort re-
cently, and will continue to do so, to have
more planned socializing time before or
after the meetings so that members can
have a chance to discuss Carroll (and
even other matters) informally.
• "Can meetings be videotaped or
audiotaped for members who are un-
able to attend?" The board has ad-
dressed this issue and decided for several
reasons to forgo the taping of meetings.
In addition to the complications involved
in artanging the taping, and the repro-
duction and distribution of tapes, many
speakers prefer not to have their presen-
tations recorded. Rather than deal with
this problem on an individual case basis,
it is simpler to avoid the issue altogether.
This also reduces the chance that some-
one might decline to speak to us because
of this issue.
• "I would like to write for the Knight
Letter^ So many of you responded that
you would be interested in writing on
various topics that it is impossible to
write to you all individually. We would
be happy, however, to consider any sub-
missions you feel are appropriate to the
format of the KL. In the case of submis-
sions which we feel are more appropriate
for other publications we will be pleased
to forward them to other editors if so
instructed. We do appreciate all the
contributions we receive for the KL, even
if there is not room for everything. With-
out your help, this newsletter would look
like a Baker who had just encountered a
Boojum!
• "The Knight Letter doesn't need a
collectors' exchange, since Joel
Birenbaum does such a good job with
his." Good point. LCSNA member Joel
Birenbaum has organized a Lewis Carroll
collectors' exchange for several years
now. Members interested in joining his
network should contact him at 2486
Brunswick Circle, Apt. #A 1 , Woodridge,
IL, 60402.
• "Whatever happened to the free
books?" In the early days of the LCSNA,
the $20 membership free included a copy
of a book or chapbook published by the
society that year. Rising production costs
made this arrangement economically
impossible. Also, several years ago the
society embarked on the task of publish-
ing the complete pamphlets of Lewis
Carroll in six large, and expensive, vol-
umes. The Board felt that it was more
important to issue this major landmark
series in Lewis Carroll scholarship than
to continue to issue the less significant
chapbooks. Members will, however, re-
ceive substantial discounts on the books
in the pamphlets series, as well as on all
society publications. These discounts, as
well as the increased size and frequency
of the Knight Letter, should help to make
up for the discontinuation of the chap-
book series.
• "How can I find out about the
Lewis Carroll Society of Great Brit-
ain?" The British LC Society has two
publications, a newsletter called
Bandersnatch which features brief notes
on the society's meetings, book reviews,
and press clipping; and a journal,
Jabberwocky, issued somewhat irregu-
larly and devoted to articles on all as-
pects of Carroll's life and works. Mem-
bership dues for U.S. members are $20
for individuals, $23 for institutions, and
$15 for students and senior citizens. Dues
should be sent to the Treasurer, Roger
Allen, at 146 Headstone Lane, Harrow,
Middlesex, HA2 6JT, England.
Batt's Snark Plays West End for Christmas Season
£2 Million Musical Gets Lukewarm Critical Reception
THE HUNTING OF
Mike Batt's musical version of Carroll's The Hunting of
the Snark opened at the Prince Edward Theatre in London on
October 24 and ran through the Christmas season, despite a less
than sensational set of reviews. Followers of Batt will recall
that his Snark first appeared as a concept album several years
ago. The original album features John Geilgud and John Hurt
as narrators and a group of pop music all-stars as the various
Snark hunters. One happy byproduct of the musical's West
End appearance is the issuing of the original album on CD.
The new incarnation of Batt's score is a fully realized, high-
tech musical which takes the audience through a dazzling
display of special effects and memorable music. Some critics
have decried its lack of plot, but it certainly has more plot than
Cats or Starlight Express which have played
in London to sold-out crowds for years.
The show begins with a 60-piece or-
chestra in the middle of the stage, where
they remain for the entire evening. The
orchestra leader plays a small role in the
hunt, and has therefore been rechristened
"Bandmaster." Another additional "B"
character who appears is the Bishop, but
the other major characters are based on
Carroll 's originals. Carroll himself, played by David McCallum,
introduces the show and moves it along through outside
narration and occasional repartee with the cast. Virtually all of
Carroll's lines are taken from his writings, and it is a tribute to
his wit that many of the show's biggest laughs came during his
recitations. Some of the most touching moments come from
his character too, for he provides a figure something akin to
C. S. Lewis' concept of God — he created the characters and
their situation, but once the action has begun he can only step
back and observe, sharing in their laughter and their pain but
unable to interfere with their actions. The deep sorrow with
which he says "For the Snark was a Boojum, you see" is very
reminiscent of Asian's majestic sharing of human pain.
The hunt is introduced by Carroll quoting from a letter in
which he told a young girl that he didn't know the meaning of
the Snark but that he liked an explanation that he had been
offered, that it was "an allegory on the search for. . . ."
Carrollians will know that the missing word is "happiness," but
Carroll is interrupted and we soon discover that this Snark hunt
is an allegory on the search for many things. The structure of
the show hangs on the assumption that each searches for
something different — his own personal Snark. The Bellman
looks for a concrete beast, the Baker for a chance to prove his
bravery, the vegetarian Butcher for the motivation to finally
kill something, the Beaver for Love, and the Bishop for God.
The Cast sings Hymn 42 before departing intoning "I know it's
out there, but it's not what you believe." From this point on,
the scenes which work best dramatically involve the conflicts
between characters who expect to find different Snarks.
While the Billiard-marker's song is amusing and the
THE
THE MUSICAL
Barrister's Dream cleverly staged, neither seems to fit in the
show. On the other hand, the conflict between the aggressive
Bellman and the fearful Baker, though somewhat overstated,
provides some dramatic moments. The one spot in the show
which would certainly make Carroll cringe, as well as those
who brought small children, is when the Butcher, while trying
to kill the (female) Beaver, suddenly announces that he feels
"as erotic as hell." The transformation from foe to friend is
much too sudden and much too sexual.
Batt brings in some of Carroll's other works at times, the
best being when the B<ftiker, having been
attacked by a Bandersna^ch, mumbles words
"whose utter inanity prove his insanity."
What he mutters, shouts, whispers, and
sighs his way through is a marvelously
dramatic recitation of "Jabberwocky,"
which Carroll also integrated into the Snark.
What does this crew learn from its hunt
once the Baker has disappeared and they
have returned to port? Carroll's story didn't
have a moral — we know how he abhorred
them — but Batt's is summed up in the final
song when the cast, led by the remorseful
Bellman, sings, in a near paraphrase of the
United States' Bill of Rights:
Whatever makes you strong
Whatever lines you choose to live your life along
I will never say you're right or wrong
Even if I don't believe whatever you believe.
Each character has finally recognized the others' right to
search for whatever Snarks they choose — "It's not what you
believe" becomes "Whatever you believe."
The most innovative feature of Batt's show, and one which
will likely be used by many others in the future, was a unique
projection system which allowed him to throw animated scenes
onto portions of the set. Through the use of over 1 50 slide
projectors and thousands of handpainted slides the show was
able to adopt a cinematic flavor employing fade-outs, dis-
solves, and techniques rarely seen in the live theatre. More
than anything the results of this technique reminded me of
Terry Gilliam's animated sequences done for Monty Python.
Why did this show fail to achieve a long run in spite of the
spectacular nature of the effects and the drawing power of
Lewis Carroll? Unquestionably Batt attempted to do too
much. He acted as composer, lyricist, director, designer, and
on some nights. Bandmaster. The potential for a superb
evening at the theatre was lurking in this Snark; if Batt had only
been willing to share the creative load it might still be running.
Still, it was entertaining and, at times, breathtaking, and the
root of its critical rejection may have been that it occupied a no-
man 's-land between traditional Christmas pantomime and
modem mega-musical — it was far beyond the one in content
yet fell short of the other in execution.
O^jif 5^C[^#p^ Sc ©la^jccg,
New & Noteworthy
The past few months have made for productive browsing at
the local bookstore. If you haven't yet found them, you may
want to look for the following.
Alice's Adventures in Wonderland illustrated by Barry
Moser. Now available in paperback from Harcourt Brace
Jovanovich ($16.95, ISBN 0-15-604426-9).
The Barry Moser Engagement Calendar for 1992. A
must for fans of Moser's Alice illustrations. Each week has a
Moser illustration, many of which are drawn from the Alice
books, and each illustration is accompanied by previously
unpublished commentary from
the artist. The rear cover has a
previously unpublished illustra-
tion of the Hatter's watch which
incorporates four self-portraits of
Moser. Published by Harcourt
Brace Jovanovich ($ 1 2.95, ISBN
0-15-610694-9).
Alice in Wonderland illus-
trated by Greg Hildebrandt. An
abridged version of the text to-
gether with reduced versions of
the illustrations. Published by
Unicom Publishing House (about
$5.95).
Illustration by
Rhyme from Through the Looking Glass. Six pop-up scenes
designed by Nick Bantock accompany the text of
"Jabberwocky" (though the final stanza is lacking). A cleverly
designed book, somewhat reminiscent of Edward Corey's The
Dwindling Party. The final pop-up of the Jabberwock emerg-
ing from the head of the hook-handed narrator is especially
effective. Published by Viking ($8.95, ISBN 0-670-84085-8).
Donald Rackin's Alice Essays
Revised Into Book
Alice has entered Twayne's Masterwork Studies series of
critical reader's companions with the publication of Donald
Rackin's AAIW and TTLG.- Nonsense, Sense, and Meaning.
After some preliminary material establishing the books' con-
text, Rackin offers revised versions of five previously pub-
lished essays, reworked for the occasion so that they compose
a unified reading of the two books. Some of these essays have
been relatively available, some only made periodical appear-
ances, but none has been in print more recently than 1988.
Of course, this is essential for collectors and scholars, but
the many thoughtful people who are put off by or unfamiliar
with literary criticism would be well rewarded for giving this
a try. Rackin, who is an LCSNA member and Temple Univer-
sity English professor, presents
complex and sophisticated ideas
with almost none of the idiosyn-
cratic use of language that can make
criticism so aggravating to the lay-
man. Anyone with an interest in the Alices will find many
provocative ideas, both congenial and antipathetic to one's
own interpretation. Rackin has been publishing on Carroll
since his award- winning "Alice's Journey to the End of Night"
in 1 966, and it is very interesting to see someone who has been
important in the field so long go back to his early work and
revise in light of all that has been done on Carroll in the past 25
years. In Jamesian fashion, we
W may compare the young work
with the mature revision, and
with the later writings, and in
doing so, find a microcosm of
the development of Carroll stud-
ies in the latter part of the twen-
tieth century. This soft-bound
book should be available from
any book store, though a special
order may be necessary.
— Stephanie Lovett
'^' Alice in Canada
George Walker
The Cheshire Cat Press of Toronto has recently published
Alice' s Adventures in Toronto in an edition of 177 copies.
Readers familiar with the previous publications of the Press
will know that it consists of LCSNA member Joe Brabant,
illustrator George Walker, and printer Bill Poole. In this latest
effort the 96 wood engravings produced by Walker for the
Press's edition oi Alice published inl988 are reproduced in
black ink. Those who have not seen the earlier work will want
to peruse this section, but, for those who have seen the
illustrations printed in an array of colors and set into the text,
this monochromatic reprinting will seem dull by comparison.
Appended to this, however, are a number of woodcuts which
were rejected for use in the 1988 /^//ce as well as reproductions
of several of Walker's preliminary drawings. The latter two
sections also contain commentary on why certain pictures
were not used, as well as a further glimpse into Walker's
method of working. This volumes makes a lovely companion
to the 1988 Alice, and will be a valuable addition to any
collection, documenting as it does the publication of the first
Canadian Alice. Collectors and admirers of fine printing will
only be further tantalized by the announcement at the end of the
book that the Cheshire Cat Press's edition of Through the
Looking-Glass is coming soon. (Available from Lyndsay
Dobson Books, P.O. Box 285, Grimsby, Ontario, Canada,
L3M4G5. Price: $85 Canadian).
5^^
Carrollian
Notes
Carroll Visits
Gulf Coast
Spring Hill College in Mobile, Alabama,
plans to hold a Lewis Carroll celebration
on the weekend of April 10-12. Math-
ematics professor Dr. Stephen Curry will
deliver a talk titled "Alice in Logic Land"
which will probe the "froggy problems
of Carroll's Symbolic Logic.'' The pro-
gram will also include a discussion by
LCSNA member Eugene Walter on the
long British linguistic tradition Carroll
represents. Between these two talks, a
video of the 1933 Paramount film of
Alice will be shown. The program will
be presented twice — once for students of
the local math/science high school and
once for alumni. Friends of the Library,
and Spring Hill students. For additional
information contact Dr. Alice Harrison
Bahr, Director of the Library, 4000 Dau-
phin St., Mobile, AL, 36608.
New Disney Series
Based on Alice
"Adventures in Wonderland," a new en-
tertaining and educational weekday se-
ries for young children will premiere on
the Disney Channel on March 23 at 7:30
a.m. Drawing from Carroll's fantasies,
Disney has created a 90s Wonderland
featuring a contemporary 12-year-old
Alice, the very hip Tweedle Dum and
Tweedle Dee, and other characters in-
cluding the White Rabbit, Mad Hatter,
March Hare, Caterpillar, and Red Queen.
"We are using the legacy of Lewis
Carroll's fantasy-filled literature to pro-
duce an imaginative environment through
which we can teach language and vo-
cabulary skills," said Stephen D. Fields,
senior vice president of original pro-
gramming for the Disney Channel.
"Lewis Carroll's inventive word play
lends itself to the stimulating,
varied, and entertaining edu-
cational thrust we wanted for
the series." The series, which
will air Monday-Friday, is a
combination of live action,
claymation, and puppetry, and
is in no way related to Walt Disney's
animated feature of y4//(r. Each of the 65
episodes being produced will contain
four original songs by Mark
Mothersbaugh, lead singer for the group
Devo. The Disney Channel will be dis-
tributing educational kits to teachers
across the country, and will offer a free
"Adventures in Wonderland" poster to
Disney Channel subscribers to help pub-
licize the series. The series has been
recommended by both the National Edu-
cation Association and the American
Federation of Teachers.
Alice at Longwood
Longwood Gardens, an historic home
and garden in Kennett Square, PA, used
the theme of "Alice's Wonderland" for
their 1991 Chrysanthemum Festival,
October 26-December 1. The festival
included daily performances of vignettes
from Alice by Shoestring Productions of
Brandywine Valley and gardens deco-
rated with topiary characters from the
two Alice books. Through the Looking-
Glass was well represented by an enor-
mous game of chess played in an open air
theatre several times each day. The fes-
tival was accompanied by an exhibit.
Images of Alice, which featured books
and prints from the Robin Collection of
the Donglomur Foundation, a private
library in Villanova, PA. The exhibit
featured a wide spectrum of illustrated
Alices and other related materials.
Images of Alice
Alice was showcased in an exhibit titled
"The Image of the Child" mounted by the
de Grummond Collection of the Univer-
sity of Southern Mississippi in
Hattiesburg last year. The exhibit fea-
tured images of children in pictures and
words from the 18th through the 20th
centuries. Materials for the exhibit were
drawn from the collection's extensive
archive of original artwork and manu-
scripts of children's books, as well as
from the collection of historical children ' s
books housed at the de Grummond. A
superbly produced catalogue of the ex-
hibit was issued. Members wishing to
know more about the exhibit or about the
splendid resources the de Grummond
collection offers for scholars of children's
literature may contact the curator. Dee
Jones, at Box 5148, Southern Station,
Hattiesburg, MS, 39406.
Dodgson's 1862 Index to
"In Memoham," both of which differ from the description in the Lewis
Carroll Handbook (see item #31 on page 21 of the 1979 edition). The
first copy collates with the description in the Handbook internally, but the
brown cloth covers have a blind-stamped decorative border on both front
and rear, and the front cover is stamped in gold "INDEX, I TO I IN
MEMORIAM." The second copy lacks the 8 pages of advertisements
and is bound in a much darker brown pebbled cloth with blind-stamped
triple rule border on the front and rear covers. The front cover is stamped
in gold 'INDEX TO "IN MEMORIAM.'" with virtually no space between the
"TO" and the opening quotation mark and with the period directly under the
closing quotation mark. This work was available from the publisher bound and
in sheets, so these could represent copies bound from sheets by individuals. I am
inclined to believe this of the second described copy because of the lack of
advertisements and the crudeness of the spacing on the front cover lettering. The
first copy described, however, has all the appearances of a publisher's binding.
Do other members have copies of this work in bindings that match either of the
above descriptions, or even, for that matter, copies which match the binding
description in the Handbook?
iMfft C/a^ ra
a^,
"Through the Looking-Glass" will be the
theme of the 1992 Sonoma County Hall
of Flowers, one of the largest flower
shows on the West Coast. The show will
be held in Santa Rosa, CA, from July 24-
August 9. For more information contact
LCSNA member and show designer
Jacquelyn Giuffre at 363 El Faisan Dr.,
San Rafael, CA, 94903.
Cof^t^e^pondent^
The Alice in Wonderland Tins, based on
the Biscuit Tin of 1892, are now avail-
able in many museum shops and cata-
logues, including the mail-order cata-
logue for the Pierpont Morgan Library
(29 East 36th St., New York, NY, 10016).
Prices range from $7.50 to $12.50.
As most members have probably seen,
the Cheshire Beagle has reappeared in
the Peanuts cartoon strip. Long-time
Carrollians will recall the original ap-
pearance of this character in January,
1967.
The Fourth Annual Snark Potluck, hosted
by LCSNA member Richard Boothe,
will take place at 6:30 p.m., April 1 , at the
Picnic Shelter, Burton Chace Park, Ma-
rina del Rey, CA. For further informa-
tion, contact the Bellman at (213) 465-
8439.
Penny Whistle Toys ( 1 283 Madison Ave.,
New York, NY, 10128; 212-369-3868)
has an Alice watercolor set in a metal box
with a Tenniel-style illustration on the
cover. The box is a reproduction of an
earlier tin (one of the originals, which
appears to be ca. 1950, was displayed in
the Alice exhibit at the British Museum
last fall). The set is priced at $20.50, plus
shipping.
The Anne Carlton Alice chess sets are
available once again, in many museum
shops and in the Hammacher Schlemmer
catalogue ( 1 -800-543-3366) where they
sell for about $250 unpainted or $600
handpainted.
Elizabeth Erickson reports that the Black-
light Theatre of Prague's production of
Alice in Wonderland currently touring
the US and Canada is a delight to see —
a combination of ballet, pantomime, and
wonderful magic effects done by ultra-
violet light with invisible black-clad prop-
erty manipulators. For information on
the tour, contact Bill Fegan Attractions
(505-445-5528).
The continuing flood of A//c^jewelry has
flowed into recent catalogues from The
Metropolitan Museum of Art which of-
fers a charm bracelet ($52), Cheshire Cat
necklace ($22 in silver, $95 in gold), and
White Rabbit pin ($42); and Museum
Collections (455 Lyman Dr., Hilliard,
OH, 43026)which features Scottish pew-
ter pendants, painted and with moveable
limbs, of Humpty Dumpty, the mad Hat-
ter, and the White Rabbit ($38 each).
Mercury House reports that their new
edition of The Complete Sylvie and Bruno
(see KL 39) is selling well thanks to
mentions in the New York Times Book
Review, Publisher's Weekly, and else-
where. Even a review in the Milwaukee
Journal titled "Carroll's Late Novels
Jusdy Neglected" piqued reader interest.
We hope to have results of the Mercury
House S&B contest in time to be printed
in the next Knight Letter.
Recent and upcoming offerings of Lewis
Carroll materials from out-of-print
bookdealers include Catalogue # 1 2 from
Lovett & Lovett, Booksellers (110 N.
Hawthorne Rd., Winston-Salem, NC,
27 104) which contains over 400 items by
or about Carroll; and a 300-plus book
collection of Carroll materials being of-
fered by Much Ado (7 Pleasant St.,
Marblehead, MA, 01945).
Inkadinkado (76 South St., Boston, MA,
02111) offers an Alice in Wonderland
rubber stamp set featuring 40 stamps, a
storage box, an idea booklet and, of
course, a purple ink pad, for $29.95-i-$3. 75
shipping.
The Wonderland Tarot Cards, previously
glimpsed at several locations, are now
available from What on Earth (2451
Enterprise East Pkwy., Twinsburg, OH,
44087) for $12.95+$3.00 shipping. The
same catalogue also offers a "black vel-
vet Wonderland hat" for $37.95, but we
are at a loss to say what this particular
chapeau has to do with Alice's adven-
tures.
The Museum of Fine Arts in Boston
(Catalogue Sales Dept., P.O. Box 1044,
Boston, MA, 02120) offers a reissue of
the Macmillan Pop-Up edition of Alice,
designed by Jenny Thorne ($14), the
Christopher Plummer Alice tapes
($16.95), and an Alice doll which does
not look particularly Alician ($15.95).
Shipping is extra.
The San Jose, CA, Dance Theatre will
revive i\\Q\r Adventures of Alice on Feb.
28-March 1 . Two new scenes (Croquet
Game & Tea Party) have been added.
For assistance in preparing this issue we would like to thank: Alice Harrison Bahr, Richard Boothe, Sandor Burstein, Morton Cohen,
Joseph Desy, Jonathan Dixon, Elizabeth Erickson, Emily Jordan Flowers, Jacquelyn Giuffre, Tricia Haarer, Dee Jones, Janet Jurist,
Stephanie Lovett, , Lucille Posner, David & Maxine Schaefer, and Mary Charlotte Tarr.
Knight Letter is the official newsletter of the Lewis Carroll Society of North America. It is published quarterly and is distributed
free to all members. Subscriptions, business correspondence, and inquiries should be addressed to the Secretary, LCSNA, 617
Rockford Road, Silver Spring, Maryland, 20902. Annual membership dues are $20 (regular) & $50 (sustaining). Submissions and
editorial correspondence should be sent to the Editor, Charles C. Lovett, 1092 West Fourth Street, Winston-Salem, N.C., 27101.